rb2013
Author of The 6922 Tube Review
- Joined
- Apr 12, 2013
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Don't know if you caught the Mad Dog review over at 6 Moons:
http://www.6moons.com/audioreviews/maddog/1.html
I liked the HD800 comments
"If we think of the Sennheiser as the perhaps most deeply engineered headphone currently to market, in sonic terms this manifests as light. If the T50rp looks on the same scenery on an overcast day, the HD800 views it under bright blue skies. Small details like tone modulations and the differences in transient flavor between instruments—how bowed violin, pizzicato upright, the hammers of a cymbalom versus piano, variously tipped drum sticks etc. create different attack spice—aren't teased out or maximally articulated. The Fostex captures the context and all of its shapes well enough but stops short of working their surface textures into high relief.
If you're familiar with just how sound changes the farther away from stage you move—more and more reflective venue data overlay the direct sound; edges soften, separation blurs, hard lines get watercolor transitional—and how even our eye sight no longer distinguishes the fine print or weave patterns on the musicians' clothing... then the Sennheiser HD800 and its top competitors from beyerdynamic present us with front-row seats. The Fostex places us into the cheap rows far back. Except that this holds only for sonic qualities, not perspective. Obviously the T50rp hugs your ears just as the others do. Its sound originates from up close so there's no added physical distance inserted. You get the effects of greater physical distance at the same proximity. It's a more twilight sound to which one acclimates quickly indeed."
http://www.6moons.com/audioreviews/maddog/1.html
I liked the HD800 comments
"If we think of the Sennheiser as the perhaps most deeply engineered headphone currently to market, in sonic terms this manifests as light. If the T50rp looks on the same scenery on an overcast day, the HD800 views it under bright blue skies. Small details like tone modulations and the differences in transient flavor between instruments—how bowed violin, pizzicato upright, the hammers of a cymbalom versus piano, variously tipped drum sticks etc. create different attack spice—aren't teased out or maximally articulated. The Fostex captures the context and all of its shapes well enough but stops short of working their surface textures into high relief.
If you're familiar with just how sound changes the farther away from stage you move—more and more reflective venue data overlay the direct sound; edges soften, separation blurs, hard lines get watercolor transitional—and how even our eye sight no longer distinguishes the fine print or weave patterns on the musicians' clothing... then the Sennheiser HD800 and its top competitors from beyerdynamic present us with front-row seats. The Fostex places us into the cheap rows far back. Except that this holds only for sonic qualities, not perspective. Obviously the T50rp hugs your ears just as the others do. Its sound originates from up close so there's no added physical distance inserted. You get the effects of greater physical distance at the same proximity. It's a more twilight sound to which one acclimates quickly indeed."